Category Archives: English

NAJAVA: VITA PERFORMACTIVA, Ana Vujanović

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– Između ekonomizacije politike i politizacije proizvodnje –

Ponedeljak, 17. septembar, 17h;
Magacin, Kraljevića Marka 4, Beograd
 

Ana Vujanović (teoretičarka izvođačkih umetnosti i kulture); Predavanje sa diskusijom

Predavanje se bavi političnošću savremenih izvođačkih umenosti, koje dobijaju novo strukturno mesto u neoliberalno kapitalističkom društvu. Njega određuju dva društvena makroprocesa: instrumentalizacija politike koja podrazumeva ulazak socijalnih pitanja – privatnih pitanja koja postaju javno relevantna, kao što je raspodela dobara – na javnu scenu i, sa druge strane, favorizovanje nematerijalne i postfordističke proizvodnje, koja integriše elemente političke prakse, pa ovde govorimo o politizaciji proizvodnje umesto o ekonomizaciji politike. Predavanje će se fokusirati na polemiku čuvene teze Hanne Arendt iz knjige “O slobodi i autoritetu”:

“[U] izvođačkim umetnostima (za razliku od kreativnih umetnosti stvaranja), dostignuće [se] nalazi u samom izvođenju, a ne u nekom konačnom proizvodu koji će nadživeti aktivnost koja ga je donela na svet i postati nezavistan od nje. […] Izvođačke umetnosti, naprotiv, doista su veoma srodne politici. Umetnicima izvođačima – igračima, glumcima, sviračima i drugima – potrebna je publika da bi pokazali svoju virtuoznost, baš kao što je delujućim ljudima potrebno prisustvo drugih pred kojima mogu da se pojave; i jednima i drugima potreban je javno organizovan prostor za “rad”, i jedni i drugi za samo izvođenje zavise od drugih.”

Polemika će podvrći izvođačke umetnosti materijalističkoj kritici, diskutujući u čemu je njihova političnost danas, ako su one takođe oblik proizvodnje, ako je izvedba roba a virtuozno izvođenje posao kao i svaki drugi.
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Ana Vujanović je freelance radnica – teoretičarka, istraživačica, autorka, predavačica, organizatorka, dramaturškinja – u polju savremenih izvođačkih umetnosti i kulture. Živi i radi u Berlinu, Parizu i Beogradu. Doktorirala je iz oblasti dramskih studija. Članica je uredničkog kolektiva platforme TkH (Teorija koja hoda) iz Beograda i glavna urednica časopisa TkH za teoriju izvođačkih umetnosti; od 2010. delimično živi i u Parizu, radeći u Les laboratories d’Aubervilliers. Posebno je posvećena jačanju nezavisne scene u Beogradu i Jugoslaviji (Druga scena). Redovno objavljuje u časopisima (TkH, Maska, Frakcija, Teatron, Performance Research…) i kolekcijama; i autorka je knjiga: Razarajući označitelji/e performansa, Uvod u studije performansa sa A. Jovanović, i Doksicid. Poslednjih godina njeno istraživanje fokusirano je na mesta susreta između performansa i politike u neoliberalnim kapitalističkim društvima.

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Predavanje se realizuje u okviru projekta “Borba za autonomni prostor”

Predavanje se ujedno realizuje i kao uvod u trodnevnu konferenciju pod nazivom „Susreti – budućnost evropskih integracija, politička ekonomija i kultura: leve kritičke perspektive” koja će se održati od 25. do 28. septembra u Magacinu, Kraljevića Marka 4. Više o tome:http://www.facebook.com/susretileve.kritickeperspektive

Podrška: Fondacija za otvoreno društvo.

 

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VITA PERFORMACTIVA
– between the economization of politics and the politicisation of production

Ana Vujanović,
a lecture with disscussion

Monday, 17th september, 17h – 18:30h
Magacin, Kraljevića Marka st. 4, Belgrade

The lecture is dealing with the politicality of contemporary performing arts, which are getting a new structural position in neoliberal capitalist society. It is being determined by two social macroprocesses: the instrumentalization of politics that implies the entrance of social issues – private issues that have become publicly relevant, such as the distribution of goods – into the public stage and, on the other hand, favoring immaterial and post-Fordist production that integrates elements of political practice, so here we speak of politicisation of production insted of economization of politics. The lecture will focus on the polemic over the famous Hannah Arendt thesis from the book In “Between Past and Future”:

“[In] the performing arts (as distinguished from the creative art of making), the accomplishment lies in the performance itself and not in an end product which outlasts the activity that brought it into existance and becomes independent of it. […] The performing arts, on the contrary, have indeed a strong affinity with politics. Performing artists – dancers, play-actors, musicians and the like – need an audience to show their virtuosity, just as acting men need the presence of others before whom they can appear; both need a publicly organized space for their “work”, and both depend upon others for the performance itself.”

The polemic will subject performing arts to materialist critique, discussing what their politicality is about today, if they, too, are a form of production, if the performance is a commodity, and virtuosic performance is a job like any other.
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Ana Vujanović (Berlin / Belgrade / Paris) is a freelance worker – theorist, researcher, writer, lecturer, curator, dramaturge etc. – in contemporary performing arts and culture. She holds Ph.D. in Theatre Studies. She is a member of editorial collective of TkH (Walking Theory) platform, Belgrade, and chief editor of TkH journal for performing arts theory; from 2010 partly in residence in Paris, working at Les laboratories d’Aubervilliers. Her particular commitment is empowering the independent scenes in Belgrade and Yugoslavia (Druga scena). She publishes regularly in journals (TkH, Maska, Frakcija, Teatron, Performance Research…) and collections; and is author of the books: Destroying Performance Signifiers, An Introduction to Performance Studies with A. Jovićević, and Doxicid. In recent years her research interest has been focused on the intersections between performance and politics in the neoliberal capitalist societies.
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This lecture is being realized within the Struggle for autonomous space project.

This lecture will be realized also as an introduction to a three-day conference titled Encounters – Future of European Integration, Political Economy and Culture: Left Critical Perspectives http://www.facebook.com/susretileve.kritickeperspektive

Support: Foundation for an Open Society

NAJAVA: Od kreativnog rada do kreativnog grada

English bellow
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Subota i nedelja, 5. i 6. Novembar, 14h (do 17:30)
Kontekst u mesnoj zajednici

Sala mesne zajednice „Studentski grad“, Narodnih heroja 30, II sprat, Novi Beograd (mapa)
bojana_fotka.jpg

Organizacija: Kontekst kolektiv
Program se realizuje u okviru 52. Oktobarskog salona “Vreme je da se upoznamo”

U prekarnoj situaciji, u kojoj se svi nalazimo, prinuđeni smo da prihvatamo rad u uslovima koji nisu pravno definisani i garantovani. Polazeći od sopstvene pozicije postavljamo pitanja o radnim i životnim uslovima (pitanja o ceni našeg rada, zatim postojanja radnog prostora, radnog vremena, socijalnog i zdravstvenog osiguranja, itd). Koliko je nedefinisanih uslova i „ugovora“ prisutno – onih koji se baziraju na odnosima zavisnosti, fleksibilnosti, neodređenosti, uslovljenosti, ucene i eksploatacije?

Istovremeno je primetan izostanak javne debate o navedenim pitanjima, kao i marginalizacija kritičke umetničke produkcije, ukidanje nepoželjnih kulturnih institucija, prisutnost cenzure i autocenzure kulturne produkcije na različitim nivoima, suspenzija autonomnih inicijativa i prostora, zatim netransparentna redistribucija budžeta, koncentracija moći političkih partija na vlasti. Ovo su samo neki od problema sa kojima se danas suočavaju radnici i radnice u kulturi. Međutim, jedan od ključnih problema jeste pitanje novih formi eksploatacije rada u polju kulture, kao i u svim sferama društvene proizvodnje.

Takav savremeni kapitalistički sistem sve više kulturu vidi kao polje za ostvarivanje ekonomske dobiti. Agresivna promocija koncepata kreativne klase, kreativne industrije i kreativnih gradova kao dela neoliberalne deregulacije, preuzima i eksploatiše različita društvena dobra kao što su javni sektor, javni resursi, javno znanje. Prenoseći matrice iz zemalja razvijenog kapitalizma činioci kulturne politike u Srbiji poslednjih godina aktivno doprinose uspostavljanju odnosa dominacije i subordinacije, koji radnike i radnice dovodi u nemogući položaj.

Program Od kreativnog rada do kreativnog grada je zamišljen u formi dvodnevnog seminara. Kroz predavanja i diskusije razmatraćemo detektovane probleme uslova u kojima svi mi danas živimo, učimo i radimo.

PROGRAM (apstrakti predavanja)

* Subota 5. novembar

14h do 15.30h
Primož Krašovec,
Kreativni rad – anakronizam ili eufemizam?

Pauza 15.30h – 16h

16h do 17.30h
Bojana Piškur,
Zašto ne okupiramo muzeje?

* Nedelja 6. novembar

14h do 15.30h
Lidija Radojević,
Borba za javni prostor kao klasna borba

Pauza 15.30h – 16h

16h do 17.30h
Ana Vilenica,
Na ruševinama tranzicije

Podrška:
Ministarstvo kulture, medija i informacionog društva
Opština Novi Beograd
Novobeogradska kulturna mreža
Kulturni centar Beograda

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Saturday and Sunday, 5th and 6th November, 14h
Kontekst at local community
The “Students’ City” local community, 30 Narodnih heroja Street, 2nd floor, New Belgrade

From Creative Work to Creative City

Organisation: Kontekst Collective
In the frame of 52. October salon “It’s Time We Got To Know Each Other”

In the precarious situation that we are all in, we are forced to accept to work under conditions that are not legally defined or guaranteed. Based on our own situation, we pose questions about our working and living situations: about the price of our work, the possibilities of a working space, working hours, health and social insurance, etc. To what extent are vague conditions and “contracts” prevalent – those based on dependence, flexibility, uncertainty, conditionality, blackmail and exploitation?

What is also quite noticeable is a lack of public debate on the above issues. Additional areas of concern include the marginalisation of critical artistic production; the abolition of undesirable cultural institutions; the practices of censorship and autocensorship in cultural production at various levels; the suspension of autonomous initiatives and spaces; non-transparent redistribution of budgets; as well as the concentration of power within the ruling political party framework. These are only some of the problems facing those employed in the sphere of culture today. However, one of the key issues, it seems, are the new forms of exploitation of labour in the fields of culture as in all spheres of social production.

Such contemporary capitalist system increasingly views culture as a field for achieving economic gains . Aggressive promotion of the concepts of creative class, creative industry and creative cities as part of the neoliberal deregulation, over and exploit various social goods such as public sector, public resources, public knowledge. By transferring matrices from developed capitalist countries, Serbia’s implementation of cultural policy has actively contributed, over the last few years, to establishing a relationship of domination and subordination, which ultimately places cultural employees in an impossible position.

The programme From Creative Work to Creative City takes the form of a two-day seminar. Through lectures and discussions, we shall review the observed problems pertaining to the conditions in which we all live, learn and work today.

The signing of a Cooperation Protocol with the Municipality and Cultural Network of New Belgrade

We are pleased to inform you that the Protocol on the legal and technical cooperation between the Municipality and Cultural Network of New Belgrade and associations that will initiate, organize and produce cultural and art program in the local community space “Studentski grad” (5 Narodnih Heroja street) for the period September 2011 – February 2012.  is signed on the 5th of July 2011.

The signing was preceded by a short presentation of the Protocol by Miloš Petrović, vice president of the Municipality and by Ana Vrbanec, director of the Cultural Network, and then followed by the statements of representatives of associations protocol signatories – Nataša Milović (Scena Carina), Vida Knežević (Kontekst) and Aleksandra Jelić (APS ART).

Besides the representatives of the Municipality of New Belgrade, the event was attended by media and members of the associations protocol signatories.

Having in  mind that we have  started communication with various state-run  institutions  with the purpose of   finding a physical space for our future work, we find  these negotiations with the Municipality  of Novi Beograd successful so far. Also, we consider this event as our contribution, especially in achieving new models and procedures for  spatial solutions that can be useful to many other organizations of independent cultural and art scene, primarily  at the local level. Although this Protocol is not ideal, certainly it is a big step forward in further negotiations.

The main reason for entering this kind of cooperation is the fact that offical state institutions are public, funded by taxpayers, and  as such belong to all of us. For these reasons we have full legitimacy to take part in  future shaping and changing of these institutions. Certainly we understand that these are only small steps, minimal effects on the macro scale, which may or may not contribute to wider social and cultural change. However, as such we consider them very important, especially in terms of improving conditions in which the local independent cultural and art scene is currently working.

We would like to remind you that we have began the campaign Struggle for an autonomous space after  the decision to quit the Kontekst gallery within the new Cultural Institution‘Parobrod’ in November 2010.

Demand for providing space for the Kontekst gallery

To: Belgrade City Secretariat for Culture


As colleagues and collaborators of the Kontekst gallery, we would like to express our disaffection and disagreement with the way and reasons why the Kontekst gallery was forced to stop to work in the former Cultural Centre “Stari Grad” i.e. the present Institution of culture “Parobrod”.

Gallery Kontekst represents one of the politically most important initiatives in Belgrade in the field of contemporary art. Through critical approach to the social reality and persistence to initiate discussion on topics that are rarely discussed and thus take part in struggles against most conservative social processes, the team of Kontekst Gallery created unique space in the cultural-artistic scene in Belgrade. Some of the issues that Kontekst and people involved in its work dealt with (in collaboration with other artists, theorists, cultural workers and activists) are sex work (“Sex, Work and Society” project), Serbian nationalism and wars in Yugoslavia (especially through censored exhibition “Exception, contemporary art scene of Prishtina”), racism in Serbia (especially in relation to Roma community through actions against demolition and fencing of a Roma slum during the international sport event Universiade), contemporary mechanisms of surveillance (“Control and Resistance on the Street” project), privatization and illegal appropriation of public space (“Fifth Park- Struggle for the Everyday” project), homophobia (collaboration with QueerBelgrade festival), critical approach toward the process of the expansion of the European Union and its mechanisms of exclusion (Without Borders? project), etc.

Furthermore, people engaged in the Kontekst Gallery have been presenting internationally their work and published their texts in the international artistic and political magazines and theoretical platforms and thus offered relevant contribution to the analysis of the cultural and political situation in Serbia and Europe today. All in all, the overall work of the Konetskt gallery is that much important that it can not be diminished that easily!

We demand from the Belgrade City Secretariat for Culture and other responsible political bodies to enable further autonomous work of the Kontekst gallery meaning providing it an autonomous space!

Yours sincerely,

  • Oliver Ressler, Vienna, Austria
  • Kim Beck, Associate Professor of Art, Carnegie Mellon University, Pittsburgh, USA
  • Ramiro Camelo, Advisory Curator, Maddox Arts, London, United Kingdom
  • Ana Dzokic i Marc Neelen – Stealth.unlimited, Rotterdam/Beograd
  • Eduard Freudmann, Academy of Fine Arts Vienna, Vienna, Austria
  • Michelle Y. Hyun, New York, USA
  • Anca Gyemant, Rodica Tache, Maria Crista- H.arta group, Timisoara, Romania
  • Alexandru Bounegru, VECTOR Association, Iasi, Romania
  • Bistra Andreeva, One Magazine, Bulgaria
  • Annatina Caprez, p-r-o-x-y, Zurich, Switzerland
  • Evelin Stermitz, Artist
  • Nina Höchtl, artist, Vienna, Austria
  • Sabrina Lindemann, Mobiel project office OpTrek, The Hague, Netherlands
  • Artivistic collective (artivistic.org), Montreal, Canada
  • Lana Zdravkovic, artist, Slovenia
  • Ruth Weismann, Academy of Fine Arts, Vienna, Austria
  • Eva Egermann, Academy of fine Arts Vienna, Austria
  • Margarethe Makovec & Anton Lederer, < rotor > association for contemporary art, Graz, Austria
  • Initiative Minderheiten, Vienna, Austria
  • Uqbar Project Space, Berlin – Antje Weitzel

Pseudoistorija/ Pseudo-history

Ovako je izgledalo prvo zvanično predstavljanje Ustanove kulture “Parobrod” u sklopu proslave verskog praznika “Cveti” i manifestacije “Jevremova- ulica susreta”, mart 2010. U svojoj osnovi nova institucija kulture opštine Stari Grad predstavlja pokušaj stvaranja pseudoistorije tj. lažne istorije radi legitimisanja ciljeva preotimanja kulturno simboličke vrednosti i fizičkog prostora Centra za kulturu “Stari grad” i programa Kontekst galerije koji su se tu nalazili pre formiranja “nove” ustanove.

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This is how  the first official presentation of the Cultural Institution “Parobrod” (Steamboat)  looked like. It was organized in the frame of celebration of the religious holiday “Palm Sunday” and event “Jevremova- street of encounters”, in March 2010. In its essence, the new cultural institution of the inner city’s municipality “Stari Grad” is an attempt to create a pseudo-history i.e. fake history in order to legitimize the goals of  appropriation of cultural symbolic value, and the physical space of the Cultural Center “Stari Grad” and the Kontekst gallery that were in the place of the “new” institution before it was founded.

 

Jedna od naših prvih reakcija na procese transformacije i gašenja Centra za kulturu “Stari Grad” se dešavala paralelno sa revizionističkim programom UK Parobrod povodom proslavljanja opštinske slave “Cveti”. Posetiocima manifestacije “Jevremova- ulica susreta” delili smo publikacije i kataloge Kontekst galerije i ukazivali na nužnost kritike ovakvih programa koji za cilj imaju stvaranje pseudoistorije prostora u kome smo radili od 2006. godine.

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One of our first reactions to the processes of transformation and closure of the Culture Center “Stari Grad”  happened parallel with the revisionist program in the Cultural Institution “Parobrod” on the occasion of the celebration of the municipal feast “Palm Sunday”. We distributed publications and catalogs of Kontekst gallery to visitors of the the event “Jevremova-street of encounters” as well pointed out the necessity of critique of policies produced with the aim of creating  pseudo-history of the space in which we have worked since 2006.

Text on the banner in the image: “Against historical revisionism”

 

KONTRAPUNKT – Saopštenje za javnost povodom prestanka rada Kontekst galerije

Public Support Letters

After the realization of the last program in the Kontekst Gallery, on November the 13th, 2010, Kontekst team informed the public about its decision to end the project Kontekst Gallery and continue its work through Kontekst platform only. In the issued press release the reasons of ceasing the work of Kontekst Gallery in the Cultural Centre “Stari Grad”: “After March 2010 and the establishment of Cultural Institution “Parobrod” – which took over the function and the public space of the Municipal Cultural Center “Stari grad”; and due to various pressures in the form of an official demand to vacate the working facilities, as well as the refusal of communication by the new management – we made a decision to end our work in this space. However, our decision to close Kontekst gallery is to a grater extent caused by our disagreement with the policy of the new cultural institution. This policy is only a symptom of the new cultural policy in Serbia in which culture is conceived as an instrument in the process of European integration, nominal implementation of human rights and tolerance, as well as the process of culturalization of society in order to create apolitical subjects for the dominant ideology – while structurally and systematically retrograde social values such as: nationalism, clero-fascism, hegemony of patriarchal matrix, intolerance towards all kinds of otherness etc., are still being reproduced.”

 

As a reaction to this press release Građanske inicijative (Civic Initiatives) issued a press release supporting Kontekst Gallery stating that “Civic Initiatives are supporting the decision, future work and activities of Kontekst Gallery and are calling other civil society’s organizations as well as institutions of culture to do the same.”

The public reaction titled “Space for political party’s youth” by an artist Darinka Pop-Mitić and a theoretician Svebor Midžić followed. Besides other, it was said that “the city authorities and right wing organizations obviously agree that contemporary arts is something that should be on margin and should have its place in ghetto. Instead of art exhibitions, visual arts program of the new institution of culture will be filled with the exhibiting activities of political party’s youth as well as with tame and appropriate topics such as ecology and incorrect parking. There, where were previously contemporary arts, now will be ecological light bulb.”

Walking Theory, a platform for theory and practice of performing arts issued an open letter to the City Secretariat for Culture protesting harshly against “the way and reasons because of which Kontekst Gallery stopped to work” within the institution of culture Parobrod. It was stated that “such displacing of those who have been for years constituting, not only locally but also regionally and internationally recognized cultural production of Belgrade can not be accepted and it represents part of the broader negative principle of local transition in culture that must be recognized and suppressed…We appeal the City Secretariat for Culture to reflect about the historical moment in which Serbia is in the time of transition, the moment when socialist cultural-political model is not entirely suspended and new and neo-liberal capitalist is still not established. This moment is unique because it opens the possibility to achieve social consensus about art as public good, and thus obstruct that it is thrown on the marked as a commodity.”

Škart, Dah Theatre, Grup Monument, Working group  Four faces of Omarska, artist Milica Tomić and Women in Black sent an appeal to the City Secretariat for Culture to “recognize the importance of the work of Kontekst Gallery and demanded that the Secretariat offers to the gallery concrete support providing it with an alternative space for work as there are many such spaces in this city and they are often not in usage or abandoned….We think that destruction of the Cultural Centre “Stari Grad” and Kontekst Gallery – that have been for many years regionally and internationally recognized on the basis of their cultural production in order to constitute party political institution of culture Parobrod is bad and unacceptable. Of course, for us it is not a secret that this is a consequence of new cultural politics, that departs from the market as a place for self-regulation of the need for the products of culture and thus from the profit based on cultural production. But art is not commodity on the market but it is a public good and its value can not be estimated on the basis of commercial success. Contemporary arts will of course loose the battle with the more profitable fields of cultural industry. We expect the  City Secretariat for Culture to demonstrate more understanding when it comes to the further development of contemporary arts.”

STATION service for contemporary dance Belgrade, appeal that the City Secretariat for Culture should find space for the work of the organization Kontekst in which the programs of the association would be organized continually and smoothly. In the letter it is put that “In the time of transition when this type of critical reflection in culture is in every way being suspended on one hand, and on the other the model of entertaining artistic production is pushed, the work of the Kontekst Gallery and similar organizations is of the key importance for the development of Serbian society. Public space for dialogue is necessary basis for the development of Serbian society and organizations that work on providing such public space should be supported not closed down…As responsible and as most important strategic partner of the civil sector in culture, we are addressing you and asking to, in dialogue with Kontekst team, find the solution and thus demonstrate understanding for the situation in which culture in Belgrade is. As further work of Kontekst within the institution Parobrod is impossible it is necessary to find urgently an adequate solution.

Open letter to the City Secretariat for Culture triggerd by the shutting down the project Kontekst Gallery was sent as well by independent artistic associations from Šabac: Stepenice (Stairsway), Assotiation Svetlost (Light) and Kolektiv (Collective) where it was stated: ”we see problems that the association Kontekst faced much more broadly, as a symptom of a new cultural politics that departs from the belief that artistic production must be profitable and competitive i.e. valorized by the laws of the market. It is clear that no space is left for the non-profit organizations that understand culture as public good. Thus, it is clear that the space contemporary arts that previously  had will be filled by commercial, profitable contents…With this open letter we want to support our colleagues from the association Kontekst but also to point out to the political actors, media and broad public in Serbia the problems that cultural institutions in Serbia face in the process of transition according to neo-liberal market model.”

An appeal for the providing working conditions to the “censored” Kontekst Gallery was formulated also by the editorial board of the magazine Prelom, magazine for theory, film, and contemporary arts where besides other it was said: “As colleagues and collaborators of the Kontekst Gallery we want to show our discontent and disagreement with ways and reasons because of which Kontekst Gallery stopped to work in the former Cultural Centre “Stari Grad”, i.e. in the present institution of culture Parobrod. We think that repressing cultural actors, that through their years long work have been developing serious and critical approach to the contemporary art practices, on the basis of ensuring the place for the “political party’s youth” of the ruling people in this municipality and development of “colorful urban landscape” of easy going, vivid and socially irrelevant topics, represents unforgivable act of marginalization of culture and its vulgar instrumentalization from the side of ruling political structures.

Kontekst Gallery is one of the most profiled initiatives for displaying and discussing works of young artists from the region – an initiative that successfully bridged the collapse of institutions such was the Center for Contemporary Arts and Yugoslavian Biennale of Young Artists. Through the persistence, self-education, critical approach to the social reality, and braveness to initiate discussion on topics that are rarely discussed (sex work, trafficking, question of nationalism in contemporary arts, etc) the team of Kontekst Gallery created unique space in the cultural-artistic scene in Belgrade. Closing down Kontekst Gallery this space will be lacking, and Parobrod with its program politics can not replace it.

Contemporary art is not commodity, nor space for easy going topics and free time activities!

Contemporary art is a space of imagination, freedom, education, critical thinking, forming of politically aware and responsible social subjects!”

Saopštenje za javnost povodom prestanka rada Kontekst galerije

English bellow  >>>

Poslednji program u Kontekst galeriji je održan 13. novembra 2010. godine,  čime je i završen naš rad na ovom projektu.

Kontekst galerija je zvanično otvorena 11. februara 2006. Projekat je pokrenut u okviru Foruma mladih Centra za kulturu “Stari Grad” kao pokušaj  transformacije jednog dela kulturnog centra  u prostor autonomnog obrazovanja i istraživanja u oblasti savremene vizuelne umetnosti i kulture.  Od avgusta 2007. godine, Kontekst galerija je nastavila da se razvija u okviru neprofitne platforme za savremenu umetnost i kulturu – Kontekst ali i dalje kao jedan od tekućih programa Centra za kulturu “Stari Grad”. Nakon što je u martu 2010. godine zvanično pokrenuta Ustanova kulture „Parobrod“,  koja je preuzela funkciju i prostor opštinske institucije kulture, pritisci u vidu zahteva za oslobađanjem prostora korišćenih za rad, kao i odbijanja komunikacije od strane nove uprave doprineli su donošenju naše odluke da prekinemo sa daljim radom u ovom prostoru. Odluka o prestanku rada Kontekst galerije još više je određena našim neslaganjem sa politikom  nove ustanove kulture.

Ta politika je simptom Nove kulturne politike u Srbiji u kojoj se kultura poima kao instrument  u  procesima evropskih integracija,  nominalnom sprovođenju ljudskih prava i tolerancije, kao i procesa kulturalizacije društva u cilju stvaranja apolitičnih subjekata dominantne ideologije dok se istovremeno strukturalno i sistematski reprodukuju retrogradne društvene vrednosti kao što su nacionalizam, klero-fašizam, hegemonija partijarhalne matrice, netolerisanje bilo kakve vrste drugosti, itd. Svi navedeni procesi dovode do komodifikacije i pacifizacije kulturne produkcije koji za posledicu imaju neutralizovanje njenog antagonističkog političkog potencijala. Radi se na uspostavljanju monopola nad kulturnom produkcijom i kontrolisanjem simboličkih sadržaja od strane vladajuće strukture koju predstavljaju političke partije i privatni kapital.

Rad na koncipiranju programa galerije i njegovoj realizaciji je za nas ujedno predstavljao i proces samoobrazovanja, refleksije, samokritike i promišljanja. Tokom rada i konstantnog procesa učenja i interakcije sa lokalnim i internacionalnim, umetničkim i aktivističkim scenama došle/i smo do  shvatanja našeg rada kao jedne vrste prostora za kritičko i političko delovanje kroz savremenu umetnost i kulturu. Naše stavove i programe smo  vremenom radikalizovali, u skladu sa lokalnim i globalnim političkim, ekonomskim i društvenim transformacijama, u pokušaju repolitizacije lokalne kulturne produkcije i reprodukcije onih ideja koje mogu proizvesti potencijal za stvaranje alternative dominantnoj ideologiji.

Naš rad ćemo i dalje usmeravati  u tom pravcu kroz dalje delovanje Kontekst platforme.

 

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Public announcement regarding the closure of the Kontekst Gallery project

 

The Kontekst Gallery’s last program took place on November 13th 2010, by which our work on this project ended.

Kontekst Gallery officially opened on February 11th 2006. This project was initiated within the Youth Forum of  the Cultural Centre “Stari grad”, as an attempt to transform a part of this Centre into a place of autonomous education and research in the area of contemporary visual arts and culture. From August 2007, Kontekst Gallery was being developed within the framework of a non-profit platform for contemporary art and culture – Kontekst, but still as a programme of the Cultural Center. After March 2010 and the establishment of Cultural Institution “Parobrod” – which took over the function and the public space of the Municipal Cultural Center “Stari grad”; and due to various pressures in the form of an official demand to vacate the working facilities, as well as the refusal of communication by the new management – we made a  decision to end our work in this space. However, our decision to close Kontekst gallery is to a grater extent caused by our disagreement with the policy of the new cultural institution.

This policy is only a symptom of the new cultural policy in Serbia in which culture is conceived as an instrument in the process of European integration, nominal implementation of human rights and tolerance, as well as the process of culturalization of society in order to create apolitical subjects for the dominant ideology – while structurally and systematically retrograde social values such as: nationalism, clero-fascism, hegemony of patriarchal matrix, intolerance towards all kinds of otherness etc., are still being reproduced. All of these processes lead to the commodification and pacification of cultural production that resulted in neutralization of its antagonistic political potential. Governing structures that are represented by political parties and private capital are working on creating a monopoly over cultural production and control of the symbolic content.

Our work on producing a concept of the Gallery’s programme and its realisation has been for us also a process of self-education, reflection, self-criticism and contemplation. Through  our work, constant learning process and interaction with local and international art and activist scenes, we developed an understanding of our work as a space for critical and political action through contemporary art and culture. Over time and in accordance with local and global political, economic and social transformations, our positions and programms became radicalized as an overall attempt of repoliticization of local cultural production and reproduction of those ideas that could produce a potential to create alternatives to dominant ideology.

We will go on working in that direction through our further engagement within Kontekst platform.

 

 

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